Pages

Thursday, May 9, 2019

Analysing Richard III


RICHARD III: film adaptations

The opening soliloquy: various interpretations








The Wooing Scene



THE HOLLOW CROWN: Episode 3 

Getting ready for the Mid-year Exam on July 3rd

Apart from re-reading acts 1 and 2 as well as your booklet and folder notes you may wish to check out the following links:

Discussion questions to get you thinking

1)  What for you was the most riveting or satisfying moment in the play? Can you account for how the playwright managed to achieve that effect?
2)  Who was your favorite or least favorite secondary character in the play? Can you see how the playwright elicited such a response? Follow-up: Why is that secondary character included?
3)  If you were asked to direct ________________ (for example, the Richard’s death scene; or the wooing of Lady Anne scene; or another important scene), what choices would you make in your direction and what important ideas of the play would your choices help to emphasize?
4)  In a play about royal families, why are common everyday people included? If you were directing, how would you present these characters and why?
5)  Richard often talks directly to the audience in the play. What is the effect of this choice by the playwright?
6)  Sometimes parts are cut from this long Shakespeare play. What is a character that some directors might consider cutting? Can you give cases for and against cutting this character?
7)  This is the only play of Shakespeare’s to begin with a soliloquy, with a character alone onstage describing a long speech. What effect does this soliloquy have on both the audience and the ideas of the play?
8)  How does the dramatist use rhythm and breaks in meter to convey theme and character?


LANGUAGE BOOKLET

RICHARD 3 Booklet

Monday, April 15, 2019

RICHARD 3




CONTEXT: THE WARS OF THE ROSES




SOURCES
Thomas More's Life of Richard (1513)

"Richard, the third son, of whom we now entreat, was in wit and courage equal with either of them, in body and prowess far under them both; little of stature, ill-featured of limbs, crook-backed, his left shoulder much higher than his right, hard-favoured of visage, and such as is in states called warlike, in other men otherwise. He was malicious, wrathful, envious and from afore his birth ever froward ... He was close and secret, a deep dissimuler, lowly of countenance, arrogant of heart, outwardly coumpinable [friendly] where he inwardly hated, not letting to kiss whom he thought to kill; dispiteous and cruel, not for evil will always, but after for ambition, and either for the surety and increase of his estate."

And so on. This is the portrait of Richard that was taken up by the chroniclers Hall (The Union of the Two Noble and Illustre Families of Lancastre and Yorke) and Holinshed (Chronicles of England, Scotland, and Ireland). Where More charts Richard’s rise to the throne, the chroniclers add his descent into disgrace and defeat, providing history in a more medieval sense than we are used to today – a pageant of the lives of great men and houses, exemplifying moral lessons: the Wheel of Fortune is relentless, pride must have a fall, the evildoer eventually meets with his just deserts. In this mentality, even the alleged physical deformities have a moral significance, as outward signs of inner ugliness. For a dramatist, then, More and the chroniclers provided a fully worked-out cartoon villain, complete with motives (‘not for evil will always, but after for ambition’), and vivid details: for example, Shakespeare’s depiction of the scene in which Richard entraps Hastings and orders his execution - ‘Talk’st thou to me of ifs?’ (3.4.75) – closely follows the account of the same scene in More.


Friday, April 5, 2019

DNA Arguing constructively

Today we are going to do a Socratic Seminar.


To start the discussion, please fill in the following survey. Click on the link below


https://forms.gle/rkcmrwEwJyhAgQpR7

Friday, March 1, 2019